Hayes answered him with some acrimony, not only defending Handel, but accusing Avison himself of ignorance of counterpoint.

KENT, (JAMES,) was born in Winchester, on the 13th of March, 1700. He received the first part of his musical education in the choir of that cathedral, under the tuition of Vaughan Richardson; but, after some time, was removed to London, and admitted one of the children of the Chapel Royal, under Dr. Croft. His first public situation was as organist to the church of Findon, in Northamptonshire; from which he removed, on being appointed to a similar post at the chapel of Trinity College, Cambridge. In 1737, he quitted it to become organist of Winchester Cathedral, and of the chapel of Winchester College, on which occasion the Society of Trinity College presented him with an elegant piece of plate. He died in his native place, universally respected, in the year 1776; having, a short time previously, published in score a volume of twelve anthems. As a composer of sacred music, he ranks among the most

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eminent masters of this country, that

cially for a due intermixture of harmony and melody which renders this species of music interesting both to learned and unlearned auditors. His Hearken unto this, O Man! and, When the Son of Man, are truly sublime_compositions in the solemn style. The fourth verse in The Lord is my Shepherd, as a bass solo, and the sixth verse, in which the two voices unite, produce a striking and most pleasing effect; the one by its maSestic simplicity, and the other by its pastoral, yet elegant harmony. Few anthems have obtained more celebrity than, O Lord, our Governor, My Song shall be of Mercy, and, Hear my Prayer; nor, it may be added, are the works of any composer more frequently heard in our cathedrals, and the chapels of colleges and collegiate churches, or more devoutly listened to, than are those of James Kent. After his decease, Mr. Corfe, the organist of Salisbury Cathedral, published a second volume of his works, containing A Morning and Evening Service, and Eight Anthems, in addition to the twelve he himself printed. Some of these have been printed sepa

rately, and a few of them have been admitted into the Harmonia Sacra: and other editions of his compositions have also been printed for the use of our cathedrals and churches.

TRAVERS, (JOHN,) was born about 1703, and commenced his education in the choir of St. George's Chapel, Windsor, where, attracting the attention of Dr. Henry Godolphin, Dean of St. Paul's, and Provost of Eton, that gentleman apprenticed him, at his own expense, to the celebrated Dr. Maurice Greene, under whom and Pepusch, he completed his musical education. About 1725, he became organist of St. Paul's, Covent Garden, and afterwards of Fulham. In 1737, he succeeded Jonathan Martin, as organist of the Chapel Royal, which situation he held till his death, in 1758. In the chapel books are sundry anthems of his composition; but as a composer, he is best known to the world by eighteen canzonets, being verses and songs, chiefly taken from the posthumous works of Prior, which he set for two and three voices, in a style as elegant as it is original. Amongst these is the much admired duet of

Haste, my Nanette. He likewise pub

lished the whole of the Book of Psalms for one, two, three, four, and five voices, with a thorough-bass for the harpsichord.

SMITH, (JOHN CHRISTIAN,) the friend and associate of Handel, under whom his talents were principally formed, and several of whose oratorios he produced, was born about 1705. He was conductor of several grand concerts between the years 1732 and 1768, including eight performances of Handel's Samson. Amongst his own compositions are, Teraminta, an opera, produced in 1732; Rosalinda, in 1739; The Lamentation of David, or, The Death of Saul and Jonathan, an oratorio; and Six Sets of Lessons for the Harpsichord. We have been unable to ascertain the time of the death of Smith, whose reputation was greater than the very scanty memorials, which are to be found respecting him, would lead us to imagine.

NARES, (JAMES,) brother of Sir James Nares, one of the Judges of the Court of Common Pleas, was born about

1710. Nothing is recorded of his early education. and the first menti.n of him, as a public character, is as organist of the cathedral church of York, where he composed several anthems and services, and obtained a celebrity that caused him, on the death of Travers, in 1758, to be promoted to the post of organist and composer of the Chapel Royal, London, having, the year previously, had the dignity of doctor of music conferred upon him at Cambridge. He afterwards succeeded Bernard Gates, as master of the children of the Chapel Royal, but resigned this situation in 1780. The former he retained, with great credit, till his decease, which happened at his residence in Great James Street, Westminster, on the 10th of February, 1783. Dr. Nares's compositions display great genius, and a thorough knowledge of the science of music. They are not numerous, and were principally for the church. Among the principal are, his anthems, Behold, how good and joyful! and O Lord my God! which are inserted in Stevens's second volume of Sacred Music, and a beautiful service in the key of C.

ALCOCK, (JOHN,) was born in London, on the 11th of April, 1715. At seven years of age, he was entered a chorister of St. Paul's, under Charles King, and at fourteen, was articled to the celebrated blind musician, Stanley. In 1737, he was elected organist of St. Andrew's Church, Plymouth, where he published, by subscription, twelve songs, and six suites of lessons, for the harpsichord. In January, 1742, he removed to Reading, to fill the situation of organist, by Mr. Stanley's recommendation, Here he published six concertos for instruments, a set of psalm tunes and hymns, which he had composed for the use of the charity children; also, a collection of old psalm tunes, and several canons. In 1749, he was offered, and accepted, the place of organist of Litchfield Cathedral, with those of vicar-choral and master of the boys. In 1755, the University of Oxford conferred upon him the degree of bachelor, and, ten years afterwards, that of doctor of music, In 1761, he was chosen organist of Sutton Colfield, in Warwickshire; and in 1765, of Tamworth, in Staffordshire; both of which

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he was allowed to hold, with his post of vicar-choral. Being fond of retirement, and but little disquieted with passing events, it was not till 1770, that he learnt the existence of The Nobleman's and Gentleman's Catch Club, when he was persuaded to become a candidate for their several prizes. This was so late in the year, that the period allowed for delivering in performances had nearly expired, added to which, he was closely engaged in correcting the proof sheets of a volume of Anthems he was about to publish. Under these circumstances he produced his pleasing, scientific, and successful glee, Hail! ever-pleasing Solitude, to which the medal was adjudged. In the two following years, the prize medals for the best canons were also awarded to him: but after gaining a fourth medal, for another glee, he declined further competition. In 1771, appeared his volume of twentysix anthems, which have been occasionally performed in almost every choir in the kingdom; and in 1791, was published his Harmonia Festi, a collection of canons, glees, and catches. 1793, he experienced a severe shock in the loss of his wife, to whom he had been married upwards of fifty-five years. In 1802, he published his collection of One hundred and six Psalm Tunes, entitled, The Harmony of Sion, the works of different composers, harmonized for soprano, tenor, and bass, forming an excellent collection of what is called "the good old psalmody." He died at Litchfield, in March, 1806, in the ninetyfirst year of his age, leaving a son, organist of Newcastle-under-line, and three daughters. He was a most amiable and conscientious man, a good musician, and a learned and scientific composer; by no means wanting in the elegances of his art, but attached more to sacred than secular composition. "For twenty years before his death," says the author of Musical Biography, "he was the oldest vicar-choral in Litchfield Cathedral, yet he was scrupulous in the performance of his duties as such; though frequently reminded of his right to indulgence by the dean and chapter, and latterly afflicted with gout and disease, brought on by age and infirmity; he was seldom known to avail himself of his privileges, except a month or two in the winter, which

he was accustomed to spend with his daughters in London." Besides the works already named, he composed a church service in the key of E, published in 1753, and a set of fifty-five double and single chaunts.

AVISON, (CHARLES,) an eminent composer, but of whose life few particulars are known, is supposed to have been born at Newcastle, about the year 1720. He visited Italy in his early days, where he studied music with industry; and on his return, became a pupil of Geminiani, then resident in England. He was afterwards elected organist of Newcastle-upon-Tyne, but he first became known to the public in 1752, when he published his well-known Essay on Musical Expression, which, says the author of Musical Biography, " contains some judicious reflections on music; but his divisions of the modern authors into classes, is rather fanciful." Throughout the whole of this work, Marcello and Geminiani are lavishly eulogized; the latter frequently to the prejudice of Handel, in whose defence a pamphlet was published, the ensuing year, by Dr. William Hayes, professor of music in the University of Oxford, entitled, Remarks on Mr. Avison's Essay on Musical Expression. Soon after Avison re-published his book, with a reply to Dr. Hayes, in which he displayed no new powers as an antagonist, but added a letter, containing many detached particulars relative to music. His other compositions extant are, five collections of concertos for a full band (forty-four in number), some quartets and trios, and two sets of sonatas for the harpsichord and two violins, a species of music little known in England till his time. The character of the music of Avison is light and elegant, but deficient in orginality, a necessary consequence of his too close attachment to the style of Geminiani. It is said that, when that eminent composer affected to treat with contempt the compositions of Handel, he used to say, "Charley Avison shall make a better piece of music in a month's time." Of his Essay on Musical Expression, a writer in The Harmonicon says, "it attracted the notice, not only of the dilettanti, but of general readers; for, being written in easy and rather elegant

style, avoiding, as much as possible, all terms purely technical, and treating the subject in a manner that rendered it interesting to the philosophical inquirer into the rationale of composition,-it filled up, for a time, at least, a chasm in literature, and not only laid down rules for the guidance of the composer-that is to say, the composer capable of thinking-but furnished the lover of music with some means of reasoning on an art that afforded him pleasure, for which he had, till then, been unable to account on anything like fixed principles." In the second edition which appeared of this work, in 1753, was added an ingenious and learned letter to the author, concerning the music of the ancients, since known to be written by Dr. Jortin. Mr. Avison died at Newcastle, on the 10th of May, 1770.

HARRINGTON, (HENRY,) of the same family as the author of the Oceana, and the translator of Orlando Furioso, was born at Kelston, in Somersetshire, in 1727. After having received the early part of his education under a private tutor at home, he was placed under the care of his uncle, William, vicar of Kingston, in Wiltshire, and by him sent to Queen's College, Oxford, in 1745, where he discovered such an acquaintance with mathematics, music, and poetry, as astonished his fellow collegians, and created so great a feeling of jealousy amongst them, that many felt ashamed, it is said, at their inferiority to what they called (the college being mostly filled with men from the north,) a "west-country boy." He graduated B. A. in 1748; and having abandoned all thoughts of the church, commenced the study of medicine, on the recommendation of an eminent physician at Bath, his uncle, from whom, however, he received no assistance. He remained at Oxford till he commenced M. A. in 1751, soon after which, he proceeded to that of doctor of medicine, and left college with the reputation of being one of the first classical scholars of his day, though he owed it rather to quickness of comprehension, than a habit of study, for which he was never remarkable. He had been previously elected a member, and was one of the "chief ornaments," it is said, of the Oxford

Society, founded by the celebrated Dr. William Hayes, the professor of music, known as "the Gentlemen Musicians," none of whom were permitted to perform, unless they could both play and sing at sight. It was this connexion, probably, and his great_love of music, that was the cause of his founding, after he settled at Bath, the celebrated Harmonic Society, the object of which was the performance of glees, catches, &c., though none but gentlemen of character were ever ballotted for. The number of subscribers became very great; and besides many of the first nobility, George the Fourth, and his brother, the Duke of York, were constant attendants during their sojourn in Bath. Harrington attained the uncommon age of eighty-nine; dying on the 15th of January, 1816. He was a man of great abilities and almost universal acquirements; of a humane and benevolent disposition; and highly respected as a physician, in which character he practised for many years, both with advantage to himself and the public. A few years preceding his decease, he was selected to fill the office of mayor of Bath, the duties of which station he discharged with credit and dignity. The characteristics of his compositions are, originality, tenderness, and correct harmony. In some of his humorous productions, particularly Old Thomas Day, and The Alderman's Thumb, he was very successful; but if he really was the composer of that charming duet, How sweet in the Woodlands, which has been universally ascribed to him, though some say upon doubtful authority, that alone would have given him a high reputation, as long as the music of our native composers shall be preserved to us. Among other of his productions of a high character, is his catch, How great is the Pleasure; and his Egyptian love song, printed in the Harmonicon for 1830. "The city of Bath," says Parke, in his Musical Memoirs, speaking of the time when the doctor had produced such an effect upon society there by his spirited example, "formerly teemed with musical excellence, and many striking compositions were given to the public, by several of its distinguished residents, among whom may be noticed the Earl

of Mornington, who composed the beautiful glee, Here, in cool grot; Dr. Harrington, celebrated for his large wig, and the favourite duet, How sweet in the Woodlands, &c."

AYRTON, (EDMUND,) the son of a respectable magistrate, was born at Ripon, in Yorkshire, in 1734. He was intended for the church; and with that view, was placed at Ripon grammar school, where he was contemporary with Bishop Porteus for five years. His early display of a strong passion for music, induced his father to remove him to York, where he was placed under the organist of the church, Dr. Nares. His progress was such, that he was, at an early age, elected organist, and rector choré of the collegiate church of Southwell, in Nottinghamshire, where he resided some years, and married a lady of family. removed from thence to London, in 1764, on being appointed gentleman of the Chapel Royal; he was, shortly after, installed a vicar-choral of St. Paul's Cathedral, and he subsequently became a lay clerk of Westminster Abbey. In 1780, Bishop Louth made him master of the children of the Chapel Royal, upon the resignation of Dr.

He

1784, the University of Cambridge conferred upon him the degree of doctor of music, to which rank he was, some time afterwards, admitted in the University of Oxford. His exercise on this occasion, which he afterwards published in score, was a grand anthem for a full orchestra, which was ordered to be performed at St. Paul's, on the occasion of the general thanksgiving for the peace, on the 29th of July of the above year. In the same year, he was chosen one of the assistant-directors of the celebrated commemoration in Westminster Abbey, a post he sustained in all the subsequent performances in the Abbey. In 1805, he relinquished the mastership of the children of the Chapel Royal, having for many years previously been permitted to execute the duties of all his appointments by deputy. He died in 1808, and was buried in the cloisters of Westminster Abbey, near his wife's remains and those of several of his children. "Dr. Ayrton," says the author of The Dictionary of Musicians,

"was an excellent musician, of which his compositions for the church bear indubitable evidence. The performance of these has been confined chiefly to the Royal Chapel; but the publication of them, which has been long expected, would usefully augment the musical resources of our various choirs, and add no small lustre to the name of this author."

HAYES, (PHILIP,) son of the eminent professor, Dr. William Hayes, was born in Shrewsbury, in 1739. He received the principal part of his musical education under his father, and was, early in life, admitted one of the gentlemen of the Chapel Royal, in London. He resided in the metropolis till about 1779, when he succeeded his father as professor of music at Oxford, having previously taken his degree of doctor of music. He presided at all the celebrated music meetings at Oxford, till 1797, in the March of which year he came to London, for the purpose of attending the ensuing festival of the Musical Fund. He had dressed himself on the morning of the 19th, in order to attend the Chapel Royal, but was suddenly taken ill, and expired soon after. His body was deposited in St. Paul's Cathedral, where several of the most eminent musical men attended as mourners. Mr. Hayes is described by Parke as resembling Falstaff in bulk and good-humour; and he is said to have nearly equalled in weight the celebrated Mr. Bright, the miller of Malden, in Essex. When he came from Oxford to London, he had two places taken for him in the stage-coach, from which, after he was got in (a work of some difficulty), he was not removed till he arrived at his journey's end. The writer of an article respecting him, in Rees's Cyclopædia, however, so far from allowing him a character for good humour, says of him, "with a very limited genius for composition, and unlimited vanity, envy, and spleen, he was always on the fret; and, by his situation, had the power, which he never spared, to render all musicians uncomfortable. No one entered the university, occasionally, or from curiosity, who did not alarm him." Respecting his compositions, little is known; they consist chiefly of anthems

and services, and are said, in many respects, to possess great excellence.

ARNE, (MICHAEL,) son of the celebrated Dr. Arne, was born about 1740, and was able to execute, on the harpsichord, at the age of ten or eleven, the lessons of Handel and Scarlatti, with wonderful rapidity and correctness. So great, indeed, had been his practice, and such was his perfection on this instrument, even at this early age, that it was thought he could play better than any other living performer. After having produced his opera of Cymon, his professional pursuits were, for a while, interrupted by his devotion to chemistry, in which he carried his researches so far as to entertain some hope of discovering the secret of transmuting metals into gold. He subsequently, however, composed for Covent Garden, Vauxhall, and Ranelagh; but of his other works, or at what time he died, there seems to be no record. "As a composer," says his biographer, "Dr. Arne did not, indeed, possess that lofty taste, nor that power of writing beautiful melody, which were so conspicuous in his father; yet there is a certain good sense which pervades all his works though it must, at the same time, be observed, that if some of them were less complex, they would, perhaps, be more pleasing. Upon the whole, however, his merits very justly entitle him to a high and distinguished rank amongst the modern English composers."

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SALOMON, (JOHN PETER,) was born about the year 1740, at Bonn, in the electorate of Cologne. He was educated for the law, but soon deserted that profession for music, and was, for some time, in the service of Prince Henry of Prussia, at Berlin, where he composed several French operas. 1781, he visited Paris, but not meeting with sufficient encouragement, came to London, where he soon became a popular violin player. In 1791, he gave the first of a series of concerts, at which Haydn was expressly engaged to preside, and whieh introduced Mr. Brahain to public notice, for the first time. These concerts, which were very well attended, and contributed to the improvement of the musical taste of the